Hoʻopaʻa inoa kāne |

mai Latin mensura - mera; huapalapala - dimensional notation

He ʻōnaehana no ka hoʻopaʻa ʻana i nā kani mele i hoʻohana ʻia i nā kenekulia 13-16. ʻAʻole like me ka notation noʻonoʻo ʻole ma mua (e ʻike iā Nevmy), ua hōʻike nā ʻaoʻao i ke kuhikuhi o ka neʻe ʻana o ke mele, a me ka notation choral i pani ai, kahi i hōʻike ʻia ai ke kiʻekiʻe o nā leo, M. n. hiki ke hoʻoponopono i ka pitch a me ka lōʻihi pili o nā kani. Ua lilo kēia i mea pono me ka hoʻomohala ʻana i ka polyphony, i ka wā i haʻalele ai i nā motets mai ka hoʻopuka like ʻana o kēlā me kēia syllable o ka kikokikona i nā leo āpau. M. i. hoʻomohala a wehewehe ʻia e Johannes de Garlandia, Franco o Cologne, Walter Odington, Hieronymus o Moravia (13th century), Philippe de Vitry, de Muris, Marchetto o Padua (14th century), Johannes Tinctoris (15th-16th century), Francino Gaffori ( 16th c.), etc.

E con. 13th c. e kuhikuhi i ka lōʻihi o nā leo a me nā hoʻomaha ma M. n. ua hoʻohana ʻia nā hōʻailona ma lalo nei (i hāʻawi ʻia ma ke ʻano iho o ka lōʻihi; ʻo nā huaʻōlelo āpau he Latin):

I ke kenekulia 14, ua hoʻohana ʻia nā manawa liʻiliʻi - minima

(liʻiliʻi) a me ka semiminima

( hapalua liʻiliʻi).

ʻO ka helu helu o nā lōʻihi i ka wā mua ʻo ia ka memo longa. Loaʻa ka longa perfecta note (perfect), e like me ʻekolu brevis, a me ka longa imperfecta note (imperfect), e like me ʻelua brevis. Mai ia Ser. 14th c. ʻO nā manaʻo o ka perfecta, ka mahele ʻekolu, a me ka imperfecta, ka mahele ʻelua, ua hoʻonui ʻia i ka ratio o nā memo "hoa noho" ʻē aʻe i hoʻopaʻa ʻia i loko o kahi pūʻulu o nā manawa memo; ʻO nā memo duplex longa wale nō (ma hope maxima) a me ka minima he paʻi pālua mau. Ua kapa ʻia kēia mau ʻano o nā māhele rhythmic. He mau inoa kūikawā no nā unahi o kēlā me kēia lōʻihi. No laila, ua kapa ʻia ka pālākiō longa modus, kapa ʻia ka unahi brevis he tempus, ʻo ka pālākiō semibrevis i kapa ʻia ʻo prolatio. Ma hope mai, lilo ka note brevis i ka manawa helu, e pili ana i ka manawa hou. palapala holoʻokoʻa; ʻO ke ʻano o kona mau unahi, ʻo ia hoʻi ka tempus perfectum (māhele i ʻekolu semibrevis) a me ka tempus imperfectum (māhele i ʻelua semibrevis) i hōʻike ʻia e nā hōʻailona.

и

; hoʻohana ʻia ka inoa hope i kēia lā no ka nui 4/4. Ua kau ʻia kēia mau hōʻailona ma ka hoʻomaka ʻana o kahi laina mele a i ʻole ma waena i nā hihia o ka hoʻololi ʻana i ka pālākiō. Mai ka 14th century wae o ka helu ana i na loihi ma M. n. lilo i ka note semibrevis. Ua koho ʻia kona mahele ʻana i ʻekolu mau ʻāpana liʻiliʻi e ka huaʻōlelo prolatio major (perfecta), i ʻelua - ma ka huaʻōlelo prolatio minor (imperfecta). Ua hoʻohana ʻia kahi kiko ma ka hōʻailona tempus ma ke ʻano he hōʻailona ʻokoʻa. ʻO kēia ka mea i hiki ai ke wehewehe pōkole i nā kumu kumu ʻehā i hoʻohana ʻia. ke ʻano o ka subordination o nā lōʻihi:

1) brevis a me semibrevis - tripartite, ie tempus perfectum, prolatio major (kūlike me ka nui o kēia manawa 9/4, 9/8) - hōʻailona

; 2) brevis - tripartite, semibrevis - bipartite, ʻo ia hoʻi tempus perfectum, prolatio minor (kūlike me nā nui hou 3/4, 3/8) - hōʻailona

;

3) brevis - ʻelua ʻāpana, semibrevis - ʻekolu ʻāpana, ʻo ia hoʻi tempus imperfectum, prolatio nui (kūlike me nā nui hou 6/4, 6/8) - hōʻailona

; 4) brevis - bipartite, semibrevis - bipartite, ʻo ia hoʻi tempus imperfectum, prolatio minor (kūlike me nā nui hou 2/4, 4/4).

ʻAʻole i hāʻawi ʻia nā hōʻailona ma luna aʻe i kahi moʻolelo o nā ʻano like ʻole o ka rhythmic. hui o na kani. Ma kēia mea, ua kūkulu ʻia nā lula e pili ana i ka lōʻihi kikoʻī o kahi memo a ma waena o nā memo i loaʻa ai. No laila, ua ʻōlelo ka lula imperfectio inā ma ka mahele ʻekolu, hahai ʻia kekahi memo me kahi memo o ka lōʻihi pōkole e pili ana, a laila hele hou mai i ka lōʻihi like me ka mea mua, a i ʻole e hahai ʻia kekahi memo e nā memo ʻoi aku ma mua o ʻekolu. o ka manawa pōkole e pili ana, a laila e emi ka lōʻihi o kēia memo i ka hapakolu:

ʻO ke kānāwai alteratio (nā hoʻololi, nā hoʻololi) i kuhikuhi i ka pālua o ka lōʻihi o ka lua o nā memo pili ʻelua o ka lōʻihi like, brevis, hope a me semibrevis, me kahi ʻōlelo tripartite:

ʻO Dep. leo he nui. Ua kākau pinepine ʻia nā haku mele i kēlā manawa ma ke ʻano he ʻokoʻa nā ʻāpana helu i loko. No laila, i ka hoʻoemi ʻana i nā leo i hoʻokahi holoʻokoʻa, pono ka rhythmic. hoohuli balota. I ka manawa like, ua hoʻopaʻa ʻia nā leo i hoʻopaʻa ʻia me ka lōʻihi o ka "diminutio" (diminutio). ʻO ka mea maʻamau ka hoʻemi ʻana o nā lōʻihi o ka leo i hāʻawi ʻia e ka hapalua (proportio dupla). Ua hōʻike ʻia e kahi laina kū pololei e hele ana ma ka hōʻailona unahi - , a i ʻole ka hoʻohuli ʻana o kēia hōʻailona - , a i ʻole ka hakina helu 2/1. Ua hoʻohana pū ʻia nā ʻano liʻiliʻi ʻē aʻe. ʻO ka hoʻopau ʻana i ka liʻiliʻi i hōʻike ʻia e ka hakina i hana ʻia ma ka neʻe ʻana i ka helu a me ka denominator (no ka laʻana, 1/2 ma hope o 2/1). ʻO Diminutio 2/1, e pili ana i nā leo āpau, e hōʻike ana i ka wikiwiki wikiwiki maʻalahi.

Ma muli o ka hoʻohana ʻana i nā ʻano imperfectio a me diminutio paʻakikī notation, ua hoʻāʻo ʻia e maʻalahi i ka heluhelu ʻana i nā memo ma o ka hoʻokomo ʻana i nā hōʻailona mele hou. I ka manawa like, e pili ana i ka hoʻololi ʻana mai ka pepa i ka pepa, ua hoʻomaka lākou e pani i nā hōʻailona mele "ʻeleʻele" me nā mea "keʻokeʻo". Ua ikaika loa kēia hana ma Italia. I ka hoʻomaka ʻana o ke kenekulia 16. Eia ka ʻōnaehana notation mele:

Ma ka liʻiliʻi, ua hoʻokumu ʻia nā hōʻailona mele ʻeleʻele e koho i nā semiminims a me nā manawa liʻiliʻi, a no nā hoʻomaha e pili ana i ka fuze a me ka semifuze, ka mua o nā hōʻailona ʻelua. ʻO kēia ʻōnaehana o nā hōʻailona i hoʻokumu i ke kumu o ka wā hou. ʻōnaehana kākau moʻolelo. Aia i ke kenekulia 15. hoʻohana pinepine ʻia nā notation pōʻai o nā memo, i ke kenekulia 16. ua neʻe ʻo ia i ka paʻi mele. Ma ka hopena o ke kenekulia 16, ua lanakila ka subordination o nā lōʻihi e pili ana i ka l : 2 ma nā wahi a pau; ua hōʻailona ia i ka hōʻole ʻana o M. n. a me ka hoʻololi ʻana i ka ʻōnaehana notation hou.

E hoʻomaopopo ': Saketti LA, Essay on the general history of music, St. Petersburg, 1912; Gruber RI, Moʻolelo o ka moʻomeheu mele, vol. 1, mahele 2, M.-L., 1941; Bellermann H., Die Mensuralnoten und Takteeichen des XV. a me XVI. Jahrhunderts, W., 1858, 1963; Jacobsthal G., Die Mensuralnotenschrift des 12. und 13. Jahrhunderts, B., 1871; Riemann, H. Studien zur Geschichte der Notenschrift, Lpz., 1878; Wolf J., Geschichte der Mensuralnotation von 1250-1460, Bd 1-3, Lpz., 1904, Hildesheim-Wiesbaden, 1965; like, Handbuch der Notationskunde, Bd 1, Lpz., 1913; kona, Die Tonschriften, Breslau, 1924; Chybinski A., Teoria mensuralna…, Kr., 1910; Michalitschke AM, Studien zur Entstehung und Fhrhentwicklung der Mensuralnotation, “ZfMw”, 1930, Jahrg. 12, H. 5; Rarrish C., The notation of polyphonie music, NY, 1958; Fischer K. v., Zur Entwicklung der italienischen Trecento-Notation, “AfMw”, 1959, Jahrg. 16; Apel W., Die Notation der polyphonen Musik, 900-1600, Lpz., 1962; Genther R., Die Mensuralnotation des Ars nova, "AfMw", 1962-63. (Jahrg. 20), H. 1.

VA Vakhromeev